MUS 271
SUMMARY OF SMALL FORMS BINARY & TERNARY
(TMG, Ch. 23)
MUSICAL FORM overall organization of a composition into sections, defined by harmonic
structure as well as by changes in (or a return to) a theme, texture, instrumentation, rhythm, or
other feature.
*Note* Uppercase letters are used to designate sections of materials, while lowercase
letters are used for phrases.
BINARY FORM a composition organized into two sections, with each usually repeated.
simple binary
or
balanced binary
A A
A A A A
A B
A A B B
A (ending) A (ending) = A (end) A (end) A (end) A (end)
TONAL STRUCTURES IN BINARY FORMS
sectional the first section stays in tonic (no modulation or tonicization)
major keys: I to I (PAC)
minor keys: i to i (PAC)
continuous the first section typically modulates or ends on a half cadence
major keys: I modulates to V
I to tonicized V
I to HC (V)
minor keys:
i
i
i
i
modulates to III
modulates to v
tonicized III
to HC (V)
The second section will end in the tonic key.
TERNARY FORM a composition organized into three sections, with each usually repeated.
simple ternary:
or
A B A or A B A
A B A
A A B B A A
(over)
p. 2
ROUNDED BINARY FORM a composition organized into two large sections, with each
usually repeated. The recurrance of the A material provides a resemblance to ternary
form.
rounded binary
or
b a
a a
ba ba
A B A
A A BA BA
COMPOSITE STRUCTURES larger musical structures which use sectional forms on two or
more levels.
composite ternary: larger, overall three-part structure, in which section is itself
comprises a small form (usually binary or rounded binary)
examples: dance movements (Minuet/Trio, Minuet 1/Minuet 2, Scherzo/Trio, etc.)
some types of da Capo works (arias, instrumental pieces)
Examples of other composite structures:
rags & marches
examples:
Sousa, The Stars and Stripes Forever
Sousa, The Washington Post March
Joplin, Pine Apple Rag
(cont.)
p. 3
VISUAL CHART for SECTIONAL FORMS
A visual chart is often useful in understanding the formal structure of musical works; it provides
a tool for seeing the big picture. The model we will use is based on seven items:
Section
The large parts of the piece (uppercase letters). Other words may
be needed above for compound structures.
Phrase
The phrase-level structures (lowercase letters).
Measure No.
The beginning of phrases/sections.
Key
The key at the beginning of phrases/sections. Squiggly lines
indicate movement away from the current key.
Cadence
The type of cadence at the ends of phrases/sections. Place it at
the end.
Modulation
The type of modulation. Place it at the approximate point at
which the modulation occurs.
Other
Other characteristics of the music: significant dynamic mark,
textures, dramatic elements, etc.
Some pieces are simple, and the corresponding chart will contain a minimal amount of
information. Larger and longer pieces will have more information, and the chart will allow you
to see patterns and compositional techniques that may have been overlooked.
EXAMPLE FORMS:
binary, ternary, rounded binary, rondo, composite ternary, composite rondo